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| Acknowledgments | ||
| Message from Claude Simon to Participants at the Conference held in May 1999 | ||
| Introduction: The Critical Reception of Claude Simon since the 1960s | 1 | |
| 1 | Thinking History Otherwise: Fiction and the Sites of Memory in Claude Simon | 22 |
| 2 | (In)Commensurabilities: The Childhood of Events and the Shock of Encounter in Claude Simon | 39 |
| 3 | Instant Replays: The Reintegration of Traumatic Experience in Le Jardin des Plantes | 61 |
| 4 | The Dynamics of Conflict in the Novels of Claude Simon | 77 |
| 5 | Satire, Burlesque and Comedy in Claude Simon | 100 |
| 6 | The Garden of Forking Paths: Intertextuality and Le Jardin des Plantes | 118 |
| 7 | A partir du Jardin des Plantes: Claude Simon's Recapitulations | 135 |
| 8 | Supplementary Organs: Media and Machinery in the Late Novels of Claude Simon | 152 |
| 9 | One Step Further: Claude Simon's Photographies 1937-1970 | 168 |
| 10 | Truth, Verbiage and Ecriture in Le Jardin des Plantes | 183 |
| Bibliography | 205 | |
| Notes on Contributors | 231 |
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
| WonderClub |
Tony DiSanto
reviewed Claude Simon: A Retrospective on January 02, 2012
Claude Simon: A Retrospective
A very persuasive argument for a distinct tradition in modern letters tying Gustave Flaubert to James Joyce to Samuel Beckett. The last two might not be that hard to associate, but Kenner's application of mathematical precepts to their selection of language makes the connection more than biographical. In essence, Kenner thinks that these three authors (with respects to a few predecessors) write their books from a modern perception of "the book" instead of the usual assumption of "telling a story". They are comedians because they draw attention to the artifice of the book. They are stoical, because they approach composition from the wizened acceptance of the limitations before any fabricator writing after the Enlightenment.
This book is short, and shows that the best literary criticism is an art form all its own.
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